E-raamat: Military-Entertainment Complex

"With the rise of drones and computer-controlled weapons of war, comparisons between war and video games have multiplied. The authors trace how the realities of war are represented in popular entertainment. In the early days of the video game industry personnel and expertise flowed from contractors building military simulations to game companies; in a middle period the military drew significantly on the booming game industry to train troops; now in our cultural present media corporations and the militarydraw upon one another cyclically to predict the future of warfare. The book argues that commercial video wargame franchises commodified and marketed the weapons, tactics, and threat scenarios of the Pentagon's War on Terror. Many of the best-selling video games (and television and films) of the last five years depict small special forces units that can deploy at a moment's notice anywhere in the world against non-traditional enemies. This intermediation of media forms within the military-entertainment complex has shaped the popular imaginary of war in the post 9/11 era and has naturalized the Pentagon's vision of a new American way of warfare."--

With the rise of drones and computer-controlled weapons, the line between war and video games continues to blur. In this book, the authors trace how the realities of war are deeply inflected by their representation in popular entertainment. War games and other media, in turn, feature an increasing number of weapons, tactics, and threat scenarios from the War on Terror.

While past analyses have emphasized top-down circulation of pro-military ideologies through government public relations efforts and a cooperative media industry, The Military-Entertainment Complex argues for a nonlinear relationship, defined largely by market and institutional pressures. Tim Lenoir and Luke Caldwell explore the history of the early days of the video game industry, when personnel and expertise flowed from military contractors to game companies; to a middle period when the military drew on the booming game industry to train troops; to a present in which media corporations and the military influence one another cyclically to predict the future of warfare.

In addition to obvious military-entertainment titles like America’s Army, Lenoir and Caldwell investigate the rise of best-selling franchise games such as Call of Duty, Battlefield, Medal of Honor, and Ghost Recon. The narratives and aesthetics of these video games permeate other media, including films and television programs. This commodification and marketing of the future of combat has shaped the public’s imagination of war in the post-9/11 era and naturalized the U.S. Pentagon’s vision of a new way of war.

With the rise of drones and computer-controlled weapons, the line between war and video games has blurred. The Military-Entertainment Complex traces how the realities of war are inflected by their representation in entertainment. War games, in turn, feature an increasing number of weapons, tactics, and scenarios from the War on Terror.